好英语网《瞬息全宇宙》背后的“疯狂”亚裔造型师
Shirley Kurata wore a pink long-sleeve T-shirt designed by her husband, Charlie Staunton; a vintage pink floral Comme des Garçons skirt; and yellow and purple Melissa x Opening Ceremony sneaker jellies, one of at least two pairs she owns. The large round L.A. Eyeworks glasses are exclusive to her, in a marbled pattern and tobacco color called “bronzino.”
雪莉·仓田（音）穿着一件由丈夫查理·斯坦顿设计的粉色长袖T恤；一条经典Comme des Garçons粉色印花短裙；黄紫两色的Melissa x Opening Ceremony果冻运动鞋，这鞋她至少有两双。巨大的L.A. Eyeworks圆形眼镜是她的专属，使用了一种大理石图案和被称为“布龙齐诺色”的烟草色。
Kurata, who gives her age only as “Gen Xer,” has a signature style, mixing vintage with high-end designers, and is drawn to an intense color wheel — an exuberant look she has cultivated since her brother’s girlfriend gave her hand-me-down Barbies from the 1960s. (“I thought, ‘Wow, these clothes are so much cuter’ ” than Barbies from the ’80s, she recalled.)
被问及年纪时，仓田只回答她是“X世代”。她有一种标志性的风格，融合了古着和高端设计师品牌，喜好强烈的配色——自从她哥哥的女友把自己的一些1960年代芭比娃娃给了她，她的这种活泼的风格就开始渐渐成形了。（“我心想，‘哇，这些衣服太可爱了，比80年代那些好多了，”她回忆道。）
服装设计师雪莉·仓田（音）在洛杉矶华埠，她说自己是“创意合作者”。她曾为比莉·艾利什、蒂耶拉·瓦克、莉娜·杜汉姆、珍妮·刘易斯和法瑞尔·威廉姆斯设计造型。
She has brought her aesthetic to the Linda Lindas’ new music video “Growing Up,” Rodarte’s recently released look book for its fall 2022 collection, the MiuMiu short film “House Comes With a Bird” and Vans’ capsule collection with rapper Tierra Whack. But perhaps most notably, this sought-after costume designer’s original eye was showcased in “Everything Everywhere All at Once,” this spring’s sleeper hit feature film.
她把她的美学带进了美琳达乐队(Linda Lindas)新出的音乐视频《长大》(Growing Up)、Rodarte近日推出的2022秋季系列造型册、MiuMiu短片《此房附带一只鸟》(House Comes With a Bird)和Vans与说唱乐手蒂耶拉·瓦克合作的胶囊系列。不过，最能体现这位炙手可热的戏装设计师的原创眼光的，可能是今春黑马电影长片《瞬息全宇宙》(Everything Everywhere All at Once)。
“She’s able to take the dumbest-looking things and turn them into high fashion,” said Daniel Kwan, who, along with Daniel Scheinert, directed “Everything,” which is now streaming. “In a lot of ways, she’s a kindred spirit to our process and very much focused on the same endeavor, putting highest and lowest on the same level and showing people maybe they’re two sides of the same coin.”
“她可以把看上去傻了吧唧的东西变成高品位时尚，”与丹尼尔·施恩奈特一同执导《瞬息全宇宙》的丹尼尔·关说，该片目前正在流媒体平台发行。“从很多方面看，她和我们惺惺相惜，都专注于同样的目标，我们把最高的和最低的放在一个水平面上，让人们看到这些也许只是同一枚硬币的两面。”
“A lot of the movie is regular people wearing kind of frumpy things that are very specific to an IRS office or a laundromat, and it was exciting that Shirley was just as passionate about that as the far-fetched, wild aspects of it,” Scheinert said. “Shirley was a slam-dunk for this movie.”
“这片子很多时候是一些普通人穿着挺无聊的衣服，国税局或洗衣店特有的那种，很高兴雪莉能像对其中离奇和疯狂的一面一样，对这些也充满热情，”施恩奈特说。“雪莉是本片的亮点。”
For the film, Kurata spearheaded the costumes for actors Michelle Yeoh, Ke Huy Quan, Stephanie Hsu and Jamie Lee Curtis as they traveled between multiple universes — including nearly a dozen wild looks for Hsu, who played Joy Wang, the daughter of a Chinese American couple running a suburban laundromat, as well as the villain Jobu Tupaki.
在影片中，仓田为杨紫琼、关继威、许玮伦和杰米·李·柯蒂斯等演员在不同宇宙间的穿梭设计了前卫的服装——包括给饰演乔伊·王的许玮伦做了10种以上的疯狂造型，她扮演了一个在郊区开洗衣店的华裔美国家庭的女儿，以及大反派“猪八土扒姬”。
“The interesting parallel is my parents owned a laundromat, too,” said Kurata, who grew up in the Los Angeles suburb Monterey Park and attended an all-girls Catholic high school in La Cañada Flintridge. “I really related to Joy’s character.”
“有意思的是我父母也开洗衣店，”在洛杉矶郊区蒙特雷公园长大、曾在拉肯亚达-弗林楚奇一所天主教女子高中读书的仓田说。“乔伊这个角色我感同身受。”
Based in Los Angeles, Kurata describes herself as a “creative collaborator.” She has dressed Billie Eilish (including for her current world tour), Whack, Lena Dunham, Jenny Lewis and Pharrell Williams. Among her fans are directors Autumn de Wilde, Cat Solen and Janicza Bravo. And Kurata herself emits an aura of celebrity — as a fashion icon, a model, a muse and a co-owner, along with her husband, of the lifestyle store Virgil Normal — even if fame is not how she measures her success.
在洛杉矶生活的仓田自称是个“创意合作者”。她给比莉·艾利什（包括她目前的世界巡演）、瓦克、莉娜·杜汉姆、珍妮·刘易斯和法瑞尔·威廉姆斯做过造型。她的拥趸包括导演奥特姆·德瓦尔德、凯特·索伦和詹妮克扎·布拉沃。仓田自己也散发着一种名流气息——时尚教主、模特、缪斯、和丈夫共同经营着生活方式商店Virgil Normal——尽管声名并不是她衡量成功的标准。
The youngest of four children in a Japanese American family, she said she didn’t fit in at her “predominantly white and preppy” school. At a freshman ice cream social, she recounted, “One of the seniors asked me earnestly, ‘Do you speak English?’ ”
作为一个日裔美国家庭四个孩子中最小的一个，她说她跟自己曾就读的那所“以白人和预科生为主的”学校不太对付。她记得在一次新生的冰激凌聚会上“有个学长一本正经地问她，‘你会说英语吗？’”
“You’re just as American as these other white students,” she said. “But in terms of the mainstream, there wasn’t much that reflected who you were. It was always a challenge or dilemma to assert your Americanness.”
“你和其他白人学生一样，都是美国人，”她说。“但就主流而言，没有多少东西能反映你的身份。明确你的美国属性一直是一种挑战或困境。”
She expressed herself through fashion.
她通过时尚来表达自己。
“I was really into Japanese magazines,” Kurata said, adding that she loved the fashion and styling and would try to do her own version on “free-dress days,” when school uniforms weren’t required. “I had a friend that lived in Orange County, and she introduced me to the whole world of thrift shopping.” While studying art at Cal State University Long Beach, she decided to move to Paris to study fashion design.
“我真的很喜欢日本杂志，”仓田说。她还说，她喜欢日本的时尚和造型，在不要求穿校服的“自由着装日”，她会尝试穿自己制作的制服。“我有个朋友住在奥兰治县，她向我介绍了整个淘二手货的世界。”在加州州立大学长滩分校学习艺术期间，她决定搬到巴黎学习时装设计。
It was during this formative three-year period attending Studio Berçot, known for its avant-garde curriculum, that Kurata’s interest in film burgeoned. “There was such a big appreciation for filmmakers and there would always be film festivals — Godard, Jacques Tati,” she recalled. “I was like, ‘Who is this Cassavetes?’ I had a thirst for seeing cult and indie films and the fashion in them.”
在以前卫课程著称的贝考工作室学习的三年时间给她带来了巨大的影响，她在那里萌生了对电影的兴趣。“那里对电影人很看重，总有那么多电影节——戈达尔，雅克·塔蒂，”她回忆。“我当时想，‘这个卡萨韦蒂斯是什么人？’我渴望看到邪典电影和独立电影，以及其中的时尚。”
“I really consider Shirley to be one of the top five stylists in the world,” said Peter Jensen, chair of fashion at the Savannah College of Art & Design. Jensen founded (and has since sold) a namesake label that once featured a collection inspired by Kurata — with color-blocked ’60s silhouettes and models all sporting her glasses and hairstyle. “She comes from a fashion design background. She knows the language. She understands the nuance and small elements and how to put all of it together to become a full story.”
“我真的认为雪莉是世界上最好的五个造型师之一，”萨凡纳艺术设计学院时装系主任彼得·詹森说。詹森创立的一个同名品牌（已出售）曾经以仓田为灵感推出了一个系列——60年代的色块廓形，模特们都戴着她那种眼镜，留着她的发型。“她是做时装设计出身的。她懂得这种语言。她懂得细微差别和小的元素，懂得如何将所有这些组合成一个完整的故事。”
Much of her inspiration comes from the world she has built around her, including Virgil Normal, the East Hollywood store she opened with Staunton in 2015 in a former motorcycle-repair shop that was also the hangout for their moped gang Latebirds. The shop’s patio hosts events such as a pop-up for hand-lettered signs by She Chimp, fundraisers and gatherings to rally support around local causes.
她的很多灵感来自于她在自己周围建立起来的世界，包括Virgil Normal，这家她和斯坦顿2015年在东好莱坞开的店前身是一家摩托车修理店，也是他们的轻便摩托帮“晚鸟”的聚集地。这家店的露台上举办过各种活动，比如She Chimp的手工标语快闪店，为当地公益事业争取支持的筹款活动和集会。
“Shirley has knowledge of all different mediums of art that makes her references and eye unique,” actress Kirsten Dunst, whom Kurata has worked with on Rodarte collaborations, wrote in an email while shooting Alex Garland’s “Civil War.” Besides being a great dancer and karaoke partner, she continued, “Shirley has an innovative imagination and knows how to make that a reality.”
“雪莉精通所有不同的艺术媒介，所以她的指涉和眼界都很独特，”演员克尔斯滕·邓斯特在拍摄亚历克斯·加兰的影片《内战》(Civil War)期间在电子邮件中写道，她曾与仓田在Rodarte的系列中合作。她还说，仓田是一个很棒的舞者和卡拉OK搭档，而且“雪莉还有创造性的想象力，知道如何使想象成为现实。”
Kate and Laura Mulleavy, the sisters who founded and are the designers of Rodarte, have worked with Kurata, along with stylist Ashley Furnival, since their first New York show, in 2006. Its fall 2022 collection — presented in a look book instead of a runway show — featured a cast of actors, musicians and directors such as Kathleen Hanna, Rachel Brosnahan, Lexi Underwood and the Linda Lindas. Laura Mulleavy talks to Kurata almost every day on the phone.
自2006年在纽约举办第一场时装秀以来，Rodarte创始人兼设计师凯特和劳拉·穆利维姐妹一直与仓田以及造型师阿什利·弗尼瓦尔合作。她们的2022年秋季系列以造型册而不是走秀的形式呈现，其中包括许多演员、音乐家和导演，如凯瑟琳·汉纳、蕾切尔·布罗斯纳汉、莱西·安德伍德和美琳达乐队。劳拉·穆利维几乎每天都和仓田通电话。
“Shirley is very much connected to a visual narrative,” Mulleavy said. “Creating character, an intention to come across in the clothing, extreme or subdued, she understands the theatricality. She understands the history of fashion in a very interesting way.”
“雪莉很擅长视觉叙事，”穆利维说。“她创造角色，在服装中体现出一种意图，极端或柔和，她理解这种戏剧性。她以一种非常有趣的方式理解时尚的历史。”
“The first time we met her it was over Zoom and she had her cat on her lap,” said the drummer for the Linda Lindas, 11-year-old Mila de la Garza. (Kurata has two black-and-white tuxedo cats, Fanny and Moondog.) “She was already there petting her cat. And she has her glasses. And we were like, ‘Wow, this girl is cool.’”
“我们第一次见到她是在Zoom上，她把她的猫放在腿上，”美琳达乐队鼓手、11岁的米拉·德拉·加尔扎说。（仓田有两只黑白相间的奶牛猫，范妮和月亮狗。）“她在那儿摸着猫，还戴着眼镜。我们当时就想，‘哇，这个女孩真酷。’”
“For us, it’s important that you’re comfortable and you can move in your clothes and you’re confident in what you’re wearing,” Lucia de la Garza, 15, a guitarist for the group, said over Zoom as her bandmates nodded in agreement.
“对我们来说，穿得舒服，可以穿着自己的衣服到处走，对自己穿的衣服有信心，这些是很重要的，”15岁的乐队吉他手露西亚·德拉·加尔扎通过Zoom说，乐队成员们点头表示同意。
That’s what punk is, according to Bela Salazar, 17, another guitarist: “a way of doing things and thinking, so it translates into fashion.” “It’s a way of expressing yourself,” she added. “And we trusted Shirley.”
另一位吉他手、17岁的贝拉·萨拉查说，朋克就是这样：“一种做事和思考的方式，所以它可以转化为时尚。”“这是一种表达自己的方式，”她还说。“我们信任雪莉。”
Kurata has taken a momentary pause to field scripts before signing on to her next major project since the surprising box-office success of “Everything Everywhere All at Once.”
自从《瞬息全宇宙》获得惊人的票房成功后，仓田决定停下来好好物色一下剧本，不急于敲定下一个重要合作计划。
“I don’t want to be working on things for superficial reasons, because I need money or to build my book or whatever — I did that when I was younger,” she said. “I’m seeing how much the movie has affected people. Being part of something like that means a lot to me, where you see Asian representation not in a clichéd or stereotypical way.”
“我不想为了一些表面的原因去做一些事情，因为我需要钱或者想写书，或者其他什么——我年轻的时候这样做过，”她说。“我看到了这部电影对人们的影响。参与这样的事情对我来说意义重大，在这样的事情里可以看到亚裔的代表，而且不是陈词滥调或者刻板印象。”
Kurata is also involved in workers’ rights in her own field, as a board member on pay equity for the Costume Designers Guild. “In film right now, it’s still very much a boys’ club, so throw in being a person of color, that’s another challenge. I’ve definitely felt that. I think it’s still a battle.”
作为服装设计师协会的薪酬平等委员会成员，仓田也参与了自己所在领域的工人维权。“现在的电影界在很大程度上仍然是一个男孩俱乐部，而且作为有色人种又是一个挑战。我确实感觉到了。我认为这仍然是一场战斗。”
Though she’s reached a certain level of success, Kurata says she’s far from done.
虽然已经取得了一定程度的成功，但仓田说她还远没有实现目标。
“For me, it was a long path,” she said. “It wasn’t like I was discovered, I didn’t have the contacts. I worked on the crappiest low-budget movies for years. It was very slow and it took a lot of hard work to get to where I am now. I’m still not even where I could be, but getting there.”
“对我来说，这是一条漫长的道路，”她说。“我并不是被发现的，我没有人脉。我做了很多年最烂的低成本电影。我用了很长时间，付出了很多努力才走到现在。我甚至还没有达到我可以达到的水平，但我正在往那个方向前进。”